TIFF 2013 – Someone Special: Joseph Gordon-Levitt’s DON JON


DON JON has an perfectly compelling premise: a pair of characters attempt to start a relationship, both of whom have been shaped by the conflicting media they’ve consumed. One is a machismo archetype, addicted to pornography (Jon, played by Joseph Gordon-Levitt); the other is the ideal woman (Barbara, Scarlett Johansson), who expects her man to “be a man” – which means doing everything she asks of him. Anything less would be to spit in the face of romanticism, to fail to meet the bar that her idealized dreams (fuelled by Anne Hathaway-Channing Tatum Hollywood blockbusters) have jammed into her head. Add it up, and you’ve got the makings of a compelling dramedy. So why doesn’t the film work better?

As child-actor-turned-Hollywood-superstar Gordon-Levitt’s debut as a writer / director, DON JON shows promise. Ultimately, however, he also has some room to improve and mature behind the camera. His premise is compelling, but it’s undercut by heavy-handedness, unnecessary hyper-stylization and an overall need to drive home a message. There’s nothing inherently wrong with the film; it’s quite funny, well-acted and has some really great moments. But its flaws are harmful to the overall product and reveal that maybe Gordon-Levitt isn’t quite there yet as a storyteller.

Many of the parallels between Jon’s addiction and Barbara’s love of cheesy movies are terrific. Her beliefs about romance are as warped and ill-conceived as his are, and Gordon-Levitt does a great job laying the groundwork between them: romance semiotics bleed off the screen and into Jon and Barbara’s relationship, from the grand musical cues when they kiss to the way he changes everything about himself “for her”. But when the subtext of that parallel becomes straight text, it also becomes less interesting. If Jon recognizes these parallels but she doesn’t, even when she’s called out on them, it makes both characters less interesting – Barbara because she comes across as a stubborn bitch (admittedly, intentionally so), and Jon because his realization garners her no pity in his eyes. Had his revelation been a more last-minute realization, it might have better impacted their final moments together.

Also troublesome is the dynamic between Jon and Esther (Julianne Moore), which feels unearned. Worse still, it evolves into something which had stronger emotional potential for the climax than was actually depicted on screen. Though the place that their relationship winds up rings completely true from a human perspective and serves Jon’s story well, it doesn’t really seem to deserve to get there. It also ends in a very bizarre place – somewhere neither here or there. Jon acknowledges his progress, but also acknowledges the fleetingness of it all; something which is fine in of itself, had the story taken the time to delve into what that conflict means to him as a person. But it doesn’t. It seems to want to have it both ways, so neither really works.

Even more bizarrely, the film totally wastes Brie Larson, who utters a single line of dialogue in the entire film. Granted, it is a pointed, meaningful line on which the entire final act hinges, but it’s still something that could have been handled by just about anybody. The rest of the cast is awesome (especially Tony Danza as Jon’s father), and everybody gets a chance at a laugh; it just would have been nice to see a bit more done with the talented Larson.

But overall, the film has a lot of good going for it. It is often laugh-out-loud funny, it’s sexy and clever, and Gordon-Levitt proves that he can do a good job behind the camera if only he can polish up his screenwriting a bit first.


d.a. garabedian


Micro-Review: 21 JUMP STREET

21 JUMP STREET is not just the funniest comedy of the year thus far – it’s one of the funniest comedies in recent memory. Based on the television series from the late ’80s starring Johnny Depp and Peter DeLuise and brought to life by a creative team whose credits include cult-classics CLONE HIGH and SCOTT PILGRIM VS. THE WORLD, the film works on nearly every level imaginable: as ’80s buddy-comedy satire, as a coming-of-age (twice!) tale and even as commentary on the nature of contemporary Hollywood and their remake-obsessed tendencies.

And although the script is smart (several of the meta-jokes are so subtle that they actually cue the act breaks themselves), the direction is assured and the editing is on par with a Nicholas Stoller comedy, it’s really the remarkable chemistry between Jonah Hill and Channing Tatum that steals the show. Sure, there are some truly hilarious peripheral performances by Brie Larson, Ice Cube and Dave Franco (the absolutely terrific, scene-stealing younger brother to the infamous Oscar host), but the two leads are so astoundingly good together that nobody can even come close. If you’d have asked me my opinion of Tatum prior to this film, I’d tell you that I didn’t really have one, one way or the other – that’s how far off of my radar he was. Amazingly, he emerges here as a remarkable comedic personality, and I hope he remains in the genre for years to come.

The meta aspects of the script are absolutely hysterical, calling itself out for its own bullshit before it even happens, and making it all the more funny when the film first subverts and then pays off those expectations. The arc is predictable but knowingly so, and it has just enough heart and humor about it that I found myself not minding at all.

Most important, however, is that this film is funny. Really funny. I can’t remember the last time I laughed so hard or so consistently throughout an entire film. Every joke, every sight-gag, every plot-development and framing device all landed squarely where they were supposed to, leaving me in stitches. Many praise this film as being the best comedy since BRIDESMAIDS. I would argue that it surpasses it.

The film (of course) winkingly sets itself up for a sequel, but for once I don’t mind. In fact, I’m downright excited by the possibility. If I’m being completely honest with myself, I’m ready for another go-around with these characters; they’ve earned that much in this ridiculous (and extraordinarily accurate) send-up of contemporary teenage and high school living.

Bring on the Undergrads.


d.a. garabedian